Edward Enninful reflects on Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago.

A serendipitous meeting during a tube journey in 1988 altered the course of a young Ghanaian immigrant to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the city's buzzing 1990s creative scene, progressing from model to stylist and, by the age of 18, becoming the fashion director of i-D magazine.

"That time was the peak of the Young British Artists – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he remembers. "Then I met Naomi for a cover, and I knew we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I long for that energy."

If Enninful sounds sentimental, he is in good company. In recent times, a longing look back of the 1990s has become pervasive. But since that time, Enninful perceives a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "This isn't just this country – it’s worldwide."

Shifting Attitudes

This regression is difficult to overlook: the rise of nationalist groups, the backlash against progressive values, and the reinforcement of traditional beauty standards. In place of the hope of the previous decade, today a more divisive political figure stands as a possible leader. Furthermore, the Union Jack, once an emblem of Cool Britannia, has sparked debate once more.

In Enninful's view, the solution has consistently been to celebrate culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a broad spectrum of influential figures from art.

"Individuals with a platform should employ it," he asserts, explaining those publishing choices. "There is much discussion about immigration; I wouldn't be here if Britain were not a welcoming country, if it refused my family a home and an education. That’s the Britain I cherished. I trust this phase will pass."

Hope in the Next Generation

He finds hope in the next generation: "They are far more conscious than we were. They discuss implicit prejudice – I was not even aware what that was."

His formative years would shape a trailblazing career marked by fearlessness and representation. Enninful set a precedent as the first male, first black man, first openly gay person, and first disabled Black gay man to assume the editorship at British Vogue. His tenure featured landmark covers showcasing models of colour, plus-sized women, an octogenarian, and people from all walks of life. Significantly, sales grew.

"To overlook vast segments of the population, it’s not just that you’re not being inclusive – it’s a poor strategy," he emphasises.

Beyond the Magazine World

He has recently launched his agency EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He says he wants to continue being a "change-maker".

"I’ve always questioned the conventional wisdom. I was brought up in a place where the majority was Black – the physicians, the lawyers, the leader. Then we came to England, without funds, and I was a minority. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the suspicion laws … those experiences gave me a sense of being both an insider and outsider."

Defying the caricature of fashion editors as loud and highly strung, Enninful is softly spoken and projects peace. His life has not been immune to hardship, including well-documented periods of mental health and substance use.

He has also endured serious health issues, having had multiple operations on his eyes, now leaving him with limited vision. "I endured such a difficult period for two years, not working, terrified I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever passes, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This drive to fit into a box has inspired him outside the realm that built his career. He is now curating a significant 1990s exhibition at Tate Britain, showcasing work by a host of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and highlight those who lacked adequate attention at the time.

"Institutions often failed to celebrate the truly innovative creators because they lacked the traditional credentials," he states.

The magazine 72 itself functions with a different business model, forgoing traditional advertising in favour of integrated partnerships. "Our approach is, what can we do together? Is it an experience, a series? The magazine is a piece within a greater ecosystem."

An Unstoppable Drive

Currently, Enninful operates as one of the world's most powerful industry leaders. His story, he feels, is a testament to the power of pursuing your passions.

What would the Edward of the 90s react to the man he has become? He laughs heartily. "He’d be in shock, but he’d be pleased. In those days I was a rebel. I would not have believed institutions like Tate were within my reach."

He pauses. "I never take anything for granted. We fled, we fled our country. I came close to losing my vision. So there is no room for fear. People have underestimated me my whole career. But nothing can stop me once I’ve made up my mind to do something."